Tiny, bright particles floated on the air in my room on Viejo Pancho Street. One of my earliest memories is of me trying, futilely, to catch them. This simple and sensual early experience, coupled with my vibrant intellectual and multicultural upbringing, make me who I am today.
I was born in Montevideo to Austro-Hungarian parents who were very active in the cultural life of the city. I grew up among books, antiques, theater, film, music and of course, stories: stories of real adventures—and also flights of fancy—of my father, sitting together on our magic Persian carpet on our living room floor.
Some of my early work was done with a lip pencil on the back of our new ochre velvet chair, or dripping indigo-colored ink on our terracotta-tiled floor, or doodling in my mother’s art books. All of these early artistic endeavors were met by my parents with a mixture of horror and wonder.
My first art teacher was the lovely Miguel Angel Parejas, who accepted me at eleven years of age into a group of adults in the Gallery Aramayo. At the age of fifteen, during the 1980s, I discovered Abstract Expressionism and the Japanese art of San Francisco. These first exposures intoxicated me with the other limitless possibilities of art.
I studied art history and humanities at the Hebrew University in Jerusalem. I then had the privilege of making a critical metamorphosis under the guidance of artist Claudio Olivieri, in the Nuova Academia di Belli Arti (NABA) in Milan, Italy. Claudio always told me: "Alessandra, you only have one soul, it’s useless to fight against it." or "Work, work, work ... that's the whole secret." I still adhere to these mantras today in my studio workshop in Modi'in, Israel.
I see my work as a visual poem. I try to capture the essence of the matter, and of the material. I am inspired by the elements of poetry, sensuality, feeling, association, metaphor, allusion, rhyme, alliteration and repetition. The words themselves are cast on the paper, taking on a shape and an outline. My works are like haiku. One must to stop to feel the echo. Alone in the silence of my study I tune in to an internal rhythm that sometimes makes me feel like an orchestra conductor. The table becomes a stage, the brush creates choreographies, somewhat like action painting. I decide when to go adagio, piano, forte, allegro … or moderato. Sometimes I become a disciplined painter of illuminated manuscripts, with delicacy and precision. I know my work is complete when I feel the music vibrating from within it.
I work almost exclusively with architectural tracing paper. The tracing paper, in contact with wet paint, takes on corporeality, changing the structure of paper and rendering it three-dimensional. This results in a work that changes with the light at different times of day, almost as if breathing. The art becomes a moment of existence, a sacred space, a moment of spirituality.
"A Moment Before the Words" Agripas 12, curated by Yanai Segal
"Green Celadon" with the Celadon Artists- Lilach Bar Ami, Anat Michaelis Levi. Guest artist Kimiko Yusida and Lu Yang. The Artist House, Tel Aviv, curated by Nitza Perry
"Fe de Erratas", Agripas 12 Gallery, Jerusalem, Tamar Gispan- Greenberg
"Dialogue", Zionist American House, Tel Aviv; Bible Lands Museum, Jerusalem
"Jacaranda Trees", Unicef Fair for Latin America, Milan, Italy
"Rice Poems", Vercelli Art Biennale, Vercelli, Italy
"Women on the Turning Point of Creativity", curated by Alejandra Okret, Castello di Vezio, Varena, Italy
Graduates exhibition, Palazzo della Ragione, curated by Claudio Olivieri Milano, Italy
Shoshanna Ish-Shalom Prize for artistic creation, Artists' House, Jerusalem
“The paper contains it all”, Lucy Elkivity Studio, Ohavim Omanut, Tel Aviv
“Clouds”, Bushey Synagogue, London, curated by Efrat Colover
"Inspiration Notebook 2016-2017 of Neve-Schechter Centre for Contemporary Art and Culture", curated and edited Shira Friedman
Outreach to Fukushima , at Physics' Conference on Slow Dynamics Complex Systems, 2012 Symposium. Art Project done with my students to support the rehabilitation efforts for the children of Fukushima. Children to Children. 2011
ZINE Project 1- Drawings to Murder Magic (relating Antonin Artaud)", The Center for Recent Drawing, edited by Andrew Hewish, London, England
"Like a Whisper", Agripas 12, curated by Alejandra Okret & Doron Adar
"The Mimosa Hour", group exhibition, Artist House Modiin
"Mini Mimosa", group exhibition, Rav Tchumi, Modiin
"Aqua Bella", solo exhibition of Bitya Rosenak exhibition, Agripas 12 Gallery
"Jewish Humour", curatorial research for the exhibition. Jewish Museum Venice, Italy
"Women on the Turning Point of Creativity", Castello di Vezio, Varena, Italy
Born in Montevideo, Uruguay. Lives in Modi’in, Israel.
1991 Art History, Hebrew University, Jerusalem
1997 Painting, Fine Art Academy (N.A.B.A.), Milan, Italy
Rank and File: Celebrating Women From Milam to Modi'in, Steve Klein, Haaretz, May 2017.
"Traces VI, Drawing Biennale" "The return of paper, thoughts about drawing", Edna Mosenson, Sally Haftel Naveh.exhibition catalogue, 2016.
Nitza Perry, Green Celadon, article on the exhibition.
Dina Yakerson, Camouflage, article on the exhibition.
Gabi Yair, Stains, article on the exhibition.
Tamar Gispan-Greenberg Fe de Erratas, article on the exhibition
Tamar Gispan-Greenberg, Zebras, article on the exhibition, 2014.
Nitza Perry, Eat, Love, article on the exhibition, Jan. 2013.
Dana Arieli-Horowitz, Ory Bartal, Naomi Meiri-Dann (Editors),
Protocollage 2013 Writing the Visual Methologies in Visual Culture Research, p.45-60. Resling Books, Bezalel Accademy, Israel.
Hagai Segev, Memories, Reminiscences and Thoughts through the Aperture of Time, article on the exhibition, "Fragole a Gennaio", Jan. 2012.
Audrey Sklar Levy, Alejandra Okret's January Strawberries Glisten with their Juicy Scent, article on the exhibition,"Fragole a Gennaio", Jan. 2012.
Gila Miller, On January Strawberries, article on the exhibition, "Fragole a Gennaio", Jan. 2012.
Ora Kraus, Furl Unfurl, catalogue article on the exhibition, Feb. 2011.
Irena Gordon, Visual Thoughts, article on the exhibition, July 2010.
Shira Friedman, Kabala in Pink, Makor Rishon, (Hebrew) Feb. 2010.
Noemi Shalev, Pink Charge, article of the exhibition, Musing, Feb.2010
Shira Friedman, Dance Construction, Maalot HaRikud, Nov. 2008Hagai Segev, Ciao Milano,catalogue article on the exhibition, Sep. 2008.
Audrey Levy Sklar, A Prayer, catalogue article on the exhibition Ciao Milano.
Mirit Golan,Poetry in Painting ( Shir Be Tziur( Modi’in News, 11th December, 2007
Yfat Ben Nathan, Towards the Inside of Transparency, article on the exhibition Inside the Transparent.
Dana Gillerman, Stars on the Floor, (Hebrew) Ha’aretz, October 2005.
Yael Kainy, Pieces of Sky, article of the exhibition, Oct. 2005.
Rabbbi Doctor Haim Rechnitzer, Particles, 2003.
Zehava Lupu, Strawberry Fields for Ever, Modi’in News, January 2004 pp 100-101, Hebrew.
Uzi Zur, End of the Year Trip, Ha’aretz, Friday, July 4th, 2003 pp 4ה Culture and Literature (Hebrew}
Shira Fur, Bimba & Adolf, Route Number 1, The Big Explosion and The Tragedy of the Versailles Hall- Exhibitions at the Artist house in Jerusalem, Kol Hazman Jerusalem Weakly, 27 June 2004 (Hebrew)
Meir Ronen, Evocation of Thing Past,The Jerusalem Post, Friday, July 11, 2003
Hagai Segev, The Glass Maker’s Daughter, June 2003
David Rapp, Situation Reports on Postcards, Ha’aretz, Friday, October 5, 2001
Gila Miller, The Sources of Creativity, Seminar at Machon Shechter
Limor Kalifa, Alejandra Okret Sends Postcards, October 2001, Modi’in News
Hagai Segev, Postcards from the Edge, catalogue. of the exhibition, October 2001
Hagai Segev, Open Studio-Alejandra Okret 26 December 1998
Meir Ronen,The Old as New, Jerusalem Post, Friday, 24 September, 1999
Ayana Friedman, A Fallen Angel, September 1999
Claudio Olivieri, Guardati Queste Carte, article on the exhibition, December 1996
Ivana Doro, Women on the Border of an Artistic Crisis, article on the exhibition, June 1996